KISS KISS BANG BANG

US, 2005, 103 minutes, Colour.
Robert Downey Jr, Val Kilmer, Michelle Monahan, Corbin Bernsen, Dash Mihok, Shannyn Sossamon.
Directed by Shane Black.

The elemental title for sex and violence.

First time director Shane Black has been writing action thrillers in Hollywood for many years (Lethal Weapon screenplays, for instance). He really comes into his own with this top entertainment.

Black uses the noir tradition to amusing effect, LA Confidential style. But he also plays with his skills as a writer by introducing a narrator who jests and argues with the audience, even going back to correct some of his introductory omissions. Black also gives each day of the action its caption – all titles of Raymond Chandler thrillers which relate to this plot as well. He makes reference to sexy potboilers and their tawdry and impossible plots and their violent climaxes with the hero tortured then shooting sixteen people (our hero is a bit more modest) as well as spoofing the requisite happy ending. The dialogue is smart, often knowing, and always clever. Come to think of it, there are lots of echoes of Chinatown as well.

Robert Downey Jr is in top form as a would-be child magician who has only made good as an adult petty thief, who steps into a movie audition while escaping the police and finds himself in Hollywood, apprenticed to a private eye named, for obvious reasons, Gai Paris (an agreeable Val Kilmer). Downey keeps just the right tone to make you like him, laugh when he invites you to and then gasp in dismay as he makes every mistake in the book, wrong guessing situations, throwing away weapons, revealing too much to the thugs…

This is a very confident and entertaining kiss and bang show, very likeable and enjoyable.

1.Shane Black and his reputation as a writer, the Lethal Weapon style? His transition to direction? Drawing on his skills for the screenplay, the adaptation of private eye thrillers to a modern setting?

2.Kiss Kiss Bang Bang as a work of pulp fiction, the conventions of pulp fiction? The hero – antihero? The ironies, in action, the crime situation, complex motivations, violence, heroics, humour? How well did they blend here?

3.The title, the basic sex and violence – the popular ingredients for pulp fiction?

4.The opening in the Midwest, the children, the church fair, the magic, the sawing the girl in half – and her screaming (and satisfaction with her ability to act)? The bond between the two? Harry as a young boy? His prospects?

5.The transition to New York City, the robbery in the store, Harry in the store, his associate, on the phone to check what he should be stealing? The alarm, getting caught, the shooting, his partner and the shooting? His running, the police chase, rushing into the audition? The passion of his situation, his poor acting, his reality when interrogated about his partner? The director, the casting group? The comic touch, affectation, their being moved by Harry, sending him to Los Angeles?

6.Los Angeles, Hollywood – the stereotypes? The parties, the people in the rooms at the party? The clubs and bars? Homes, the sanatorium? The streets, the bridges and freeways? The Los Angeles world of crime?

7.The film as playing on the conventions of film noir? The style and the comparisons with other films like Chinatown? Similarities of plot? The homage to Raymond Chandler, the plot developments, the titles and their coming from Chandler’s books?

8.The importance of the voice-over, Harry and his confiding in the audience, the introduction to himself, correcting his voice-over, making the audience complicit, interacting with them? The ironies of his comments – and especially about audience reaction? Audience expectations? The voice-over throughout, the summing up at the end?

9.Harry at the party, the encounter with Harmony, the fight and his being bashed? His going with Perry, his reaction to Perry’s style? The producer, the carry-on? Harlan Dexter as the host, his manner, the introduction to his daughter? The story of their clash, the inheritance, reconciliation?

10.Val Kilmer as Gay Paree, the sexual orientation and the jokes, partnerships, kisses… homophobia? Harry as apprentice? The bashing, Perry helping him at the party? Perry and his work, contacts? The job for Alison Ames? The set-up, the chase, the dead body? The corpse in the room? The comedy and bizarre touches with the disposing of the body in the bin?

11.The developments of the puzzle, clarity for the audience? The clues? Harry and his wrong assumptions, wrong guesses, wrong actions? Perry and his being sure? The visit to the bar, the discussions with the men, with Harmony Faith? Recognising her? Memories of old times, her not having succeeded in Hollywood as she wanted? The story of her sister, her sister’s death, the credit card? Harmony’s story about her sister, about the abuse from her father and coming to Los Angeles? The hero of the fictitious novels and their both liking them? The joke about Xanadu? The films, Dexter and his being a performer? The build-up to the dangers, the thugs? Harmony and her involvement – and her coping with the dangers?

12.The development of the plot, the explanation of the truth, Harmony’s sister and her identity, the third girl, her death and Harry under the bed? Harry and his unexpected shooting of the thug? The chases? Perry being shot – and surviving? The hearse? The institute? The staff? Harry and the continuing danger, the chase, his dangling over the freeway? His reflexes – and the gun, the ricochet, shooting Dexter?

13.Dexter, his character, wealth, his daughter? The party, his thugs? His institute? The truth about his daughter, her murder, disposing of the body, Alison and her death, the thugs and the other girl being killed?

14.Harmony, her involvement, the murders, the effect, her improvising, the phone calls, being able to cover?

15.The picture of the thugs, the brutality – with the comic touch? Their exits?

16.Harry, his bewilderment, the effect, tired, the apartment, moving in and out, trying to keep pace with Perry, the explanations?

17.The world of Los Angeles, show business, wealth, violence? The humour with the themes of the advertisement – and the finale?

18.Harry, the deaths, Perry’s being wounded? The final talk to the audience – and leaving, the commercial?

19.Harry, the funeral, going to see Harmony’s father, the confrontation and the violence?

20.A satisfying action thriller, comedy? The ironies and the parodies as well as use of the private eye, pulp fiction genre?

THE MILK WOMAN

Japan, 2005, 148 minutes, Colour.
Directed by Akira Ogate.

The Milk Woman is an intriguing Japanese drama. The woman of the title is a woman who works in a supermarket but early every morning she delivers milk door to door in the city. She is fifty, single. She has been devoted to family – but has tragic secrets. She also has been in love since her schooldays with a man to whom she delivers milk. He is tending his ailing and dying wife.

The wife is aware of his love for the milk woman and summons her, trying to get her to promise to marry her husband when she dies. This has a dramatic effect on the milk woman, altering her way of life, her attitude towards the man. When it seems that love is possible for her life, a tragedy occurs and she loses him. Back in her own mind and loneliness, she still delivers the milk and delivers it to his door.

The film is interesting in showing the rather polite and impassive Japanese way of life, the suppression of external manifestations of passion while underneath, deep emotions are stirring.

The film also is an interesting portrait of a middle-aged woman who has made her decisions in life and adapted to these. It is a portrait of a sympathetic man who works on the local council, who is seen to be involved in making decisions about abusive parents and the custody and fostering of children – which leads ultimately to his death in trying to save a drowning boy.

The director has a background in television commercials and music videos but during the 1990s focused on documentaries. He began his feature film career with Boys’ Choir in 2000. He is also a lecturer in film-making at Japanese universities.

1.An interesting film? Strong impact? Characters, plot? An adaptation of a novel? The blend of action, thoughts, feelings?

2.The Japanese atmosphere, milieu? The city itself, the vistas, the hills? Authentic? The details of the neighbourhood? The hill, the steps, the homes, the depot, the supermarket? The streets and the river? The musical score – and the crescendos?

3.The three stories in one: the milkwoman’s story, the man and his wife, the aunt and the professor?

4.The way of storytelling, audience observation, understanding? Japan? Impassive and inscrutable characters? Body language? Communication/not? Emotional communication? The focus on the milkwoman? Fifty years of age? The comments on her story, love, loneliness, decision? Seeing her in action?

5.The title, her work as a milkwoman? Waking early in the morning, going to the depot, her running, the deliveries, going back? The transition to the supermarket? Her relationship with the other members of the staff? The boss? Her censorious style? Emphasis on work, time? At home, reading, Dostoyevsky?

6.The aunt, her writing, her age, knowing the milkwoman, her choices? Her husband, the story, her care for him? His losing his sense of time, his memory? Running, confusion? Eating and running away? Sleeping? Her aunt talking to her niece?

7.The milkwoman at home, her memories, her parents? The communication of her thoughts? The radio, the card? Her feelings? The song on the radio, ‘Rainy Days and Sundays’?

8.The man and his wife, his waking, his love for his wife, her terminal illness? The medicines? The queue? Seeing him at work, the people he encountered, the young boy? The meetings and discussions? His sadness?

9.The supermarket, the boy, the stealing, the chase? His mother, her boyfriend, drugs, slatternly? The man’s understanding all this, his helping the boy? The film developing their relationship, going to the home? His sadness? The setting up for the drowning sequence?

10.The wife, her illness, love for her husband? Calling the milkwoman? Discussion about the husband? His not returning? His death, the grief, the funeral?

11.The milkwoman and her memories of the man, her delivering the milk, knowing the story? Her relationships, her talk, the visit to the grave? Parents? The sexual relationship? Her returning to work?

12.The boy, the drowning? The smile, grief? The old story of the laugh?

13.The milkwoman and her inability to love, communicate? The effect of the relationship with the man? Continuing to deliver the milk? Drinking the milk, the replacement of the milk?

14.The milkwoman going up the steps, the view of the city, hopes for the future in her life?

15.A Japanese way of telling a story, focusing on characters, their thoughts and feelings, relationships?

UNCONDITIONAL LOVE

US, 2003, 117 minutes, Colour.
Kathy Bates, Rupert Everett, Dan Aykroyd, Jonathan Price, Peter Sarsgaard, Meredith Eaton, Lynn Redgrave, Marcia Warren, Richard Briers, Julie Andrews, Barry Manilow, Sally Jessy Raphael.
Directed by P.J. Hogan.

Unconditional Love is the work of husband and wife screenwriting team, P.J. Hogan and Jocelyn Moorhouse. P.J. Hogan achieved celebrity in Australia with Muriel’s Wedding. He went to Hollywood and made such films as My Best Friend’s Wedding and returned to Australia for Peter Pan. Jocelyn Moorhouse herself had won acclaim for Proof and also went to the United States making How to Make an American Quilt and A Thousand Acres.

Unconditional Love received very limited release – and was withdrawn from theatrical release in some areas. It could be considered a kind of folly – but an entertaining one if audiences are prepared to suspend disbelief. It is quite unpredictable – going in all kinds of unexpected directions. It defies credibility – but, with a genial cast, a confidence of the writers that they are enjoying themselves, audiences may get a lot out of the film.

It is a star vehicle for Kathy Bates and she responds particularly well to the challenge of an ordinary housewife whose husband decides to leave her. Her husband is played in a meek and mild way by Dan Aykroyd. However, the housewife is a fan of a celebrated crooner, played with suave charm by Jonathan Price. When he is murdered, the housewife decides to go to England for his funeral – where she discovers that he was gay, meets his long-time partner, played by Rupert Everett, and gets involved in all kinds of shenanigans with his funeral as well as a plan to return to Chicago to discover his murderer.

The supporting cast includes Peter Sarsgaard as a window cleaner, Lynn Redgrave and Marcia Warren as the singer’s two estranged sisters and Meredith Eaton as the housewife’s dwarf daughter-in-law. There is also a comic guest appearance by Julie Andrews as herself – which also has to be seen to be believed as she sings Getting to Know You in the cockpit during a bumpy flight and repeats the act during the pandemonium at the singer’s funeral. The film climaxes on the Sally Jessy Raphael Show and a guest appearance by Barry Manilow.

The film does make a point about its title, the nature of complete and self-giving love – even when one is not loved in return.

1.The work of P.J. Hogan and Jocelyn Moorhouse? Writing and directing? Creativity? Imagination – even to the absurd?

2.The title and expectations, for each of the characters? For the family? The nature of love, love without being loved in return? The final condition for the husband to say that he loved his wife?

3.Chicago, the opening with the fog, the unreality? The apartments? The underground area? The touch of the sinister? The world of television studios and glitz? Bars? The Sally Jessy Raphael Show? The contrast with the United Kingdom, the country town of Lark, the church and the cemetery, the house and the pub? US contrasting with the UK?

4.The range of songs, those in the background? Popular songs commenting on the action and characters? Victor Fox and his range of songs, the visual presentation – culminating in the real Barry Manilow appearing? Julie Andrews and singing Getting to Know You?

5.The structure and the screenplay: unpredictable, improvised as it went along (giving that impression)? The various turns, the comic, then the serious, farce, musical, Vigilante Revenge? The TV show and its glitz?

6.The overall impact – of reality and fantasy, interest and enjoyment, the absurd? Characters, events and twists?

7.The city of Chicago, the opening fog, setting the mood, the garages, the transition to the television studio for the happy ending?

8.Kathy Bates as the housewife, waking up, the meaning of her life, twenty-five years of marriage, her husband talking to her, dropping the news in a phlegmatic way? On the phone for the tickets for Victor Fox’s concert? Listening, hanging up? Her shock? His walking out? The effect on her, the puzzle? The looking at the window cleaner – and the husband talking about him as a risk-taker (and the irony that he was the murderer)? With her daughter-in-law, having coffee, the daughter-in-law’s aggression because she was a dwarf? Discussions, family, possibilities? Her fears? Wanting to come alive?

9.Her ringing for the ticket, pleading? Her waiting, thinking she wouldn’t get it, the delivery, hurrying to the studio? The shock of the announcement of Victor’s death? Going with her daughter-in-law to the site, watching, going into the bar, the bartender explaining where Victor Fox sat, his words about a life without fear, drinking the Guinness?

10.The decision to go to the funeral, the flight, her singing in fear, Julie Andrews sitting next to her, Julie Andrews going to the cockpit and singing Getting to Know You, the passengers all joining in?

11.The strength of the decision to go, the experience of the UK, arriving at the country town, getting information, going to Victor Fox’s house, the boarders, Dirk and his aggressiveness? Kicking her out? The discovery that Victor was gay and the effect on her?

12.The chance meeting with Nola, Lynette and Harriett, the brother-in-law? Having tea, the talk, their grief, the sisters overacting? The discovery of who Grace was? Ousting her? The brother-in-law as the lawyer, suggesting that she could spy for them?

13.Grace’s infiltrating the house, preparing the lavish breakfast, tidying up, mowing the lawn? The reaction of Dirk’s friends, his sending them away? The talk with Dirk, his background as valet, sharing Victor’s life? His explanations, the way people treated him? His being left the house? The bond growing between Grace and Dirk? Going to the pub on the bike – and the fall? Keeping his identity secret – but the tribute of the people in the pub? The tour of the house, Dirk explaining everything to Grace, Victor and his response to his mother, his orientation, school, the sisters’ alienation? His mother’s reaction? Wearing her clothes? The decision to leave, to go back to Chicago to hunt the killer? Dressing the corpse in the chiffon and the tiara? In the airport in Chicago, the television presentation of the funeral – and Nola’s upset?

14.The sisters, their manner, way of talking, mercenary, welcoming Grace, ousting her? The dignity of the funeral? The commotion, Nola’s scream? Julie Andrews at the funeral – going to the pulpit, punching the vicar? The singalong of Getting to Know You? The sisters at the Sally Jessy Raphael Show, forced to give over the house for charity – and their consenting?

15.Jonathan Price as Victor, his style, on television, crooning, the women fans? The pathos of his death? The reality, the relationship with Dirk, his comment about having sex with other men but sleeping with Dirk? Valet, companion? Leaving the house to Dirk? The funeral? His reappearing to dance with both Grace and Dirk? His appearing at the end – with everything at peace?

16.The character of Dirk, Rupert Everett’s style? His housemates, ousting them? His work as a valet, doing everything, the menial tasks? His unconditional love for Victor? His anger, with Grace, his resentment, change of heart, the tributes to Victor, going to the US, getting into the spirit of the avenging of his death?

17.The return, the night together, the daughter-in-law discovering them? The plan, the information about the killer, the police, discovering that he would listen to music, the set-up, the confrontation?

18.The window cleaner, seeing him clean, his appreciation of Grace playing with the grandchild? The truth, his mother, resentment of singing, the accidental killing of Victor, his crossbow, the group singing the song for him, the shoot-out and his death?

19.Max, taking the furniture, the change of heart, wanting to come back, Grace refusing? Going to the studio – and, after saying Grace could not sing, inviting her to sing?

20.The daughter-in-law, the dwarf, her marriage to Andrew, the child, the alienation? Her tough stances? Her helping Grace? The reconciliation?

21.Sally Jessy Raphael and her style, the talk show, the introductions, the audience, each giving an explanation of what they had done? The invitation to sing – and Barry Manilow’s turning up to join them singing his song?

22.Preconceptions about marriage, fidelity, minorities such as dwarfs, the attitude towards gay relationships, orientations? And the meaning of unconditional love?

THE FIGHTING TEMPTATIONS

US, 2003, 123 minutes, Colour.
Cuba Gooding Jr, La Tanya Richardson.
Directed by Jonathan Lynn.

The target for The Fighting Temptations is the African American audience. The film stars Cuba Gooding Jnr giving an exuberant performance along the lines of his Oscar-winning role in Jerry Maguire. (This is particularly evident in his gymnastics during the final credits.)

The setting is Georgia – with an excursion to the cutthroat business world of advertising in New York City. Gooding plays a young man who is brought up in Georgia, whose mother was excluded from the choir, who returns when his grand-aunt dies and leaves it in her will that he should inherit money if he directs the local choir to win at a competition.

The film contrasts the go-getting world of advertising, the lies, the exploitation. The hero is fully immersed in this world – but, of course, after returning home begins to see truer values.

The film has a strong black cast, especially Beyonce Knowles, the singer who had appeared in such films as Austin Powers’ Goldmember.

The film is reminiscent of the plot of those films which have competitions and the show must go on despite all difficulties. It is also reminiscent of Sister Act with the hero as a fish out of water in his community, gradually adapting, conducting the choir in exuberant performances of gospel song. In fact, the gospel music is another attractive feature of the film for its target audience.

The film was directed by Englishman Jonathan Lynn, writer and director of Yes, Minister and Yes, Prime Minister. He went to the United States in the 1990s and directed such films as My Cousin Vinnie, The Distinguished Gentleman, Greed, Sergeant Bilko.

1.The target audience of the film? Americans? African Americans? The importance of the gospel music? The traditions? Impact for a wider audience?

2.Georgia in the 1980s, later? The town of Monte Carlo, small, the homes, the church? The contrast with New York, the business world, affluent life?

3.The music, the gospel, the contemporary renditions of gospel music? The church, performances? The range of artists? Rap? The competition? Beyonce Knowles and other performers?

4.The title, Lily’s explanation about temptation and fighting it? Darren’s response?

5.The 1980s, Georgia, the small town, the membership of the choir, their singing? Paul and his leadership? Paulina and her domination, the rules? Aunt Sally and her care for Darren and his mother? The young boy going to church, singing? The ousting of his mother? Their travels, her career, the range of places, the collage and superimpositions? Aunt Sally’s letters – and Darren finally reading them? Darren’s mother’s death?

6.Darren and Cuba Gooding Jnr’s style, at work in New York City, advertising, ideas, alcohol, his pitch to the executives, promotion, wanting a corner office? The lies on his resume? Taking the woman to dinner, the exposure of the failure of his cards? His being found out, fired? His being contacted by the secretary – especially during the funeral? The phone call, his return, his chart and the exploitation of the average citizen, the African Americans? His change of heart, the bosses applauding him, leaving?

7.Aunt Sally’s will, getting the money to travel, the train, being picked up in the car, the return home? His superior attitude?

8.The funeral, the mobile phone ringing, his improvising and giving the eulogy? People’s reactions to his return? The will, people being left Aunt Sally’s goods, Darren and his having to conduct the choir?

9.His decision, need for money? His going round all the citizens, the different promises, business deals, personal interactions, Lily and the promise of a record contract? His lies about his being a record producer? Going to the prison, the governor? The prisoners – the falsetto singer, the rap artist?

10.The rehearsals and the style? The music, the singing? The combinations? The quick development of the choir?

11.Lily, her son, on the outer, like Darren’s mother, his attraction towards her, the promise and the lies, falling in love, her disillusion with him?

12.Paulina, her control, the rules for the choir, her ambitions, receiving the phone call and finding out the truth about Darren? The revelation and denouncing everyone?

13.The truth, Darren’s reaction, going back to New York – his new conversion, return? The support of Paul and Lily?

14.Going to the competition, Lily and Paul? Paulina and her control of the choir? The other members and their reaction against her? Paul revealing the truth that she was not a widow? The choir voting her out? The performance, the other members in the competition, the Fighting Temptations and their victory?

15.The range of personalities, in the town, the minister, Paulina, the friends, Rue Mc Lanahan as the white woman, the prisoners?

16.The formula for this kind of exuberant ‘show must go on’? Predictable? The winning? The final credits and the songs and gymnastics? Feelgood?

GERONIMO: AN AMERICAN LEGEND

US, 1993, 95 minutes, Colour.
Gene Hackman, Jason Patric, Robert Duvall, Matt Damon, Wes Studi, Kevin Tighe, Stephen Mc Hattie.
Directed by Walter Hill.

Geronimo: An American Legend came from a period in Hollywood fim-making where there was some revisionist look at the interaction between Americans and the Native American Indians. Already by 1950, there had been a breakthrough in a respect for the Indians in such films as The Devil’s Doorway and Broken Arrow. This was to continue and around 1970 there was another look, in the light of the Vietnam experience, at the interaction between Indians and the military, Soldier Blue and Little Big Man.

In the early 90s there was another look at the cowboys as well, two films on Wyatt Earp (Wyatt Earp and Tombstone) and Walter Hill made Wild Bill, another look at Wild Bill Hickock.

Wes Studi brings great dignity and strength to the character of Geronimo. Geronimo led an Apache group of renegades against the military, surrendered, was caught up in a stupid action when the American military fired on a shaman. Once again, he was pursued and finally surrendered, finishing his life in a prison in Florida, living there for twenty-two years.

Robert Duvall appears as a tracker. Gene Hackman is the commanding officer. Jason Patrick is the lead – a soldier who had a bond with Geronimo and brought him in twice. The film is narrated by a character played by Matt Damon, who had appeared in School Ties, was to appear in Courage Under Fire and soon to have a very successful career after Good Will Hunting.

The director is Walter Hill, best known for writing and directing action films.

1.The 1990s and the new look at the west, the revision of history about cowboys, about Indians, about the military and the interaction with the Indians?

2.The history of the 19th century, the American pioneers moving west, the American government, the military? The Indians and their way of life, not able to withstand the military? The wars? The raids? The Indians being moved to the reservations? Prison? Issues of justice and conscience in American history? The role of films like this in alerting audiences to the past?

3.The title, the focus on Geronimo, the truth about him, a legend? The sadness of the ending, the long shot of the train leaving Arizona and taking the Indians to prison and exile in Florida?

4.The Arizona and Mexico settings? The use of the Utah locations? The beauty and ruggedness of the vistas, the desert, the mesas, the mountains? The pervading orange and red colours? Ochre tone? The musical score?

5.The history of the Apaches, a thousand years way of life, their being rounded up? American politicians, treaties, the military carrying out the orders? Prejudice and violence against the Indians? The wars, surrenders? Avoidable incidents leading to long-term consequences?

6.The portrait of the Apaches, their tribal life, Geronimo and the warriors? The scout and his working for the military, the hostile attitudes towards him from the Indians? Geronimo, the raids, the scouting party, his decision to surrender? A new life, dignity, the respect from Gatewood, from Crook, from Bishop? His sharing with them on the journey back to the camp? His asking for Bishop to be in charge of the reservation? The shaman, the incident, the shooting? The Indians fleeing, Geronimo leading raids? The devastating effect? The military wanting a confrontation? Urging him to come in, Miles sending Gatewood? The lies and the promises? His imprisonment, twenty-two years? The portrait of Geronimo?

7.The contrast with the scout, his working for the military, loyal, acting as interpreter? Treatment by the military? Close to Gatewood? The clashes with the other Indians? His going to get Geronimo? The scouts being humiliated, no longer needed, surrendering their guns – and his objection? On the train, the taunts against him? Geronimo saying that they all should be united as a minority?

8.Crook, his military life, orders and policy, administering the law, getting Gatewood to find Geronimo, appointing Bishop? Receiving Geronimo, the respectful treatment, the hopes? The ball and the news of the incident – and his being replaced?

9.The contrast with Miles, a strong personality, tough, disciplinarian, treatment of the officers, attitude towards the Indians? His talking to Gatewood, the secret discussions, the lies about bringing Geronimo in? Bishop confronting him as he resigned?

10.Bishop, from Texas, his age, giving the voice-over, the perspective on Geronimo and the military? His years at West Point? His pride? With the Indians, discussions with Crook? The friendship with Gatewood, admiration, learning from him, the details of the mission, the surrender? In charge of the reservation? The incident and the consequences? Accompanying Gatewood again to bring Geronimo back? Sharing the experience? His disgust, his resignation?

11.Gatewood, the loner, friendship with the Indians, understanding them? Friendship with Bishop, communicating his skills, educating him? The mission, the desert, finding Geronimo? Bringing him back? The change, the discussions with Miles, the second mission? The lies – and his going alone to Wyoming?

12.The background of military life, the violent confrontations with the Indians, the fights, the deaths of so many military and Indians? The change of life in the west? The 19th century price for the United States? Winners and losers?

CRISTOVAO COLOMBO - O ENIGMA

Portugal, 2007, 80 minutes, Colour.
Directed by Manoel de Oliveira.

Colombo - O Enigma is a wonderful film written by Manoel De Oliveira and has Oliveira himself and his wife as significant characters in the film. He directed it at age 98. He was also present at the Venice film festival at age 99 when the film was screened.

Oliveira began making films in the early 1930s and continued for the next 70 plus years. His body of work has been honoured throughout the world. In his later years, he made rather shorter films, very effective including a sequel to Belle De Jour, Belle Toujours.

This film is based on a book by a husband and wife team, who had investigated the background of Christopher Columbus for 50 or more years. They are portrayed in the early part of the film, the husband by De Oliveira’s grandson. In the later part of the film, Oliveira and his wife portray the couple.

The film opens with interesting speculation about Columbus’ identity, an examination of his signature, a look at particular emblems, which indicate the thinking behind his explorations. The film then moves to 1946 with two young men migrating to the United States, following Columbus’ path. In 1957 one of them who has become a doctor, continues his interest in examining the documents about Portuguese exploration. Back in Portugal in 1960, he and his fiancée marry and then go on a honeymoon trip to Cuba, the alleged place of Columbus’ Portuguese birth, and to other monuments, churches, and museums in the Algarve.

The next part of the film is set in 2007 where the elderly couple go to Columbus Circle in New York City, look at the Statue of Liberty and reflect on the meaning of this for the United States, go to Massachusetts where the Portuguese colony live in the United States. They then return to Portugal and to the Azores to examine further evidence of Columbus’ life.

The possibility that Columbus was Portuguese is a speculation. However, the Portuguese De Oliveira is actually creating a film monument to Columbus and to the many Portuguese explorers who, as the film highlights, travelled all the seas of the world. Were De Oliveira not to make another film, this would be a most fitting epitaph for him.

1. The work of Manoel de Oliveira, his long career, directing and acting in this film at the age of ninety-eight? His contribution to cinema? His contribution to Portuguese consciousness? His themes? This film as something of an epitaph for him?

2. The prologue with the documents, the close-up of Columbus's signature, the symbols? The visual style, the historical re-creation of 1946, 1957, 1960? The journey of 2007? Portuguese locations, American locations, the Azores? The piano score and the mood?

3. The title, the title of the book and research? Columbus and his achievement? Portugal and its contribution? The book and the film dramatising the quest of the authors?

4. The theme of Portugal: Portugal itself, the visuals, as a power in the 15th and 16th centuries? The role of the king, the explorers, the visuals of the Atlantic coast, venturing out in the small boats, going to the ends of the earth? The achievement? The reputation of the sailors and explorers, the memories in Portugal, so many absent from the consciousness? Monuments and museums, statues? This film as a monument to those explorers, especially Columbus?

5. Columbus as born in Portugal - true or not? The hypothesis? The evidence offered? The film and the symbol of the guardian dressed in the flag colours of Portugal? Present at all times in the film?

6. The introduction, the explanation of the signature, the phallic symbol, the fact that he was born in Cuba, his original name, parents, mother, Jewish background, noble lineage, the sinister side?

7. 1946, the young Manuel and his brother, looking at the statues, recapping the history of Portuguese exploration? Migrating to the US, following Columbus's path? The end of World War Two, the migrations, the young men and their age, their farewell to their mother, the voyage, talking to the old man on the boat, the talk of family? Hopes for America, the initial fog? The city shrouded? Not able to see the Statue of Liberty? The interrogation by the police in Manhattan, the two passports, nationalities, the suspicion of espionage? The taxi ride, their gazing at their room and its being bare? Going to the restaurant, the advice to work in the factory? The younger brother going to Hollywood and staying there? The older brother becoming a doctor?

8. 1957, Manuel's lecture, his analysis of diagnosis, with patients, with historical documents? The response of the audience, the discussion of Manuel's devotion to history?

9. 1960, the wedding, the long sequence of the words of the marriage vows and commitment, the visuals of the trip, the arrival in Cuba, asking people directions and their not knowing, the churches, the priest and his explanation? The visit to the Algave? The museums? The evidence about Columbus? The husband and wife learning? The bond between the two?

10. 2007, the couple and their age, in New York City, the bright sunshine, Columbus Circle, the statue of Columbus, the statements on the statue, the eagle, the symbolism? The wife singing? The American ideal, the Statue of Liberty, the quotation of America's welcome, the comment that this was not always achieved? The Sephardic Jewish background of the writer of the words? The admiration for America? What Columbus achieved?

11. Going to Massachusetts, visiting the museum, the model ships, the reflection on what this meant?

12. Going to the Azores, the welcome, going to the museum, the discussions with the personalities, their regret at no monuments, the hopes for Portugal's acknowledgment of its heroes?

13. The final sequence, the ferry, the water, the time for reflection on the role of the explorers?

THE BENCHWARMERS

US, 2006, 80 minutes, Colour.
Rob Schneider, David Spade, Jon Heder, Jon Lovitz, Craig Kilborn.
Directed by Dennis Dugan.

Rob Schneider’s comedies are an acquired taste (box-office indicating that there is an audience out there), generally lower-rung, dumb and dumber type comedies. This one gets away with a little more because it takes a stand against bullies and bullying and that can’t be all bad - as well as taking as its sports theme America’s love for baseball. Which does seem to mean that if baseball is not your sport and you have a low tolerance level for corny jokes, bodily function jokes, and some general silliness, then you will have to give it a miss.

Schneider is actually the most sensible of the group, the hero, but David Spade does dumb routines and Jon Heder (Napoleon Dynamite) is terrible and irritating. Jon Lovitz, as the justifiably smug millionaire who finances a baseball team of misfits to beat the bullies, provides the best comedy.

1.The audience for this kind of film? American? Young? Male? The Dumb and Dumber aspects of the comedy? The baseball background? The theme of bullying?

2.Authentic locations, the town, the shops, the houses, gardens, baseball pitches? The musical score?

3.The standard of the comedy, Rob Schneider’s type of comedy? David Spade? John Heder as Napoleon Dynamite? Jon Lovitz and his sardonic comedy? The jokes, sport, bullying, bodily function jokes expected in this kind of film? How successful?

4.The trio, their relationship, dependence? How well was each developed as a character? Their interactions? Supporting each other? Their experience of bullying? The Dumb and Dumber aspects of their characters? The baseball scenes, their ineptitude? Even with the team, the farcical aspects – for baseball-watching fans?

5.Gus, age, gardening, wife? His being the most sensible of the three? The background of bullying, his defending the kids? The possibility of the team? His own past, the secret, his own bullying? Its being eventually exposed? His apology? His support of the group, the teams, the kids? Their success and victory?

6.Richie, working at the video store? The jokes at the video store? Dumb, unable to play well, relationship with Gus, with Clark? Ineptitude in playing? The bullying, the ultimate success? Clark, really dumb, the one-liners, his stupidity, slapstick comedy? How successful?

7.Mel, his coming across the group, his lifestyle, his lack of modesty about his success, the billionaire, his experience of bullying? His son? The family? His putting up the money, the establishing of the team? His supporting them?

8.The fathers, pride in their sons, the games, continuing the bullying, encouraging their children? Gus and his stand against them? The building up of the team, the clashes, the games?

9.The theme of the underdogs, especially with the theme of bullying, their training, gradually improving? The odd group of misfits – and the audience meant to laugh at the aspects of their being misfits? Audiences meant to cheer them on, their ultimately winning?

10.The credibility of the plot – a baseball fairy tale? With dumb touches? But an encouragement to people who feel themselves put down?

NEW JACK CITY

US, 1991, 101 minutes, Colour.
Wesley Snipes, Ice- T, Allen Payne, Chris Rock, Mario van Peebles, Michael Michele, Bill Nunn, Russell Wong, Bill Cobbs, Christopher Williams, Judd Nelson, Vanessa Williams.
Directed by Mario van Peebles.

New Jack City came at the beginning of the 1990s along with a number of films made by first-time black directors. This included such films as Rage in Harlem, directed by Bill Nunn who appears in this film. It was the beginning of Mario van Peebles’ directing career which he continued for many years. He also appears in one of the central roles.

The film looks like any other black American action thriller – partly in the tradition of the blacksploitation films of the 1970s, but illustrating the new focus on drug warfare in New York City (New Jack City) and the role of the police. The black action American thriller is its style. But it is anti-drug and anti the new black gangsters of cities like New York. There is some violence in the film – but it is tempered to illustrating characters and issues. This is the kind of film that makes immediate impact with the niche audiences of African Americans in America itself.

Wesley Snipes, emerging as a leading man, is megalomaniac as Nino Brown who is ambitious to control drugs in New York. (It is significant that Al Pacino in Scarface screens behind significant scenes.) He is supported by rapper Ice- T (who contributes the songs and reminds us of the now long history of rap). The strong black supporting cast includes Allen Payne as the rival to Snipes, a very young Chris Rock as an addict who is an informer for the police and Mario van Peebles himself.

There is only one major white character in the film, an ex-addict now policeman, played by Judd Nelson, who clashes with his partner, Ice- T, but eventually this leads to mutual respect and each saving the other’s life.

There have been a number of similar films since, but New Jack City is interesting as coming from the early 1990s and as significant in the career of Mario van Peebles.

1.The opening with the aerial shots coming into New York City, the nickname of New Jack City, the focus on Brooklyn, the streets, the tenements, the drug world, the contrast between poverty and affluence? The camera moving out of New York City at the end?

2.The authenticity of the locations, the characters within these locations? The period of the mid-1980s to the late 1980s? The crack empires developing in New York City? The streets, the buildings, the world of the gangsters? The musical score, the range of songs? Rap song at the end?

3.The focus on the character of Nino Brown? Wesley Snipes’ strong interpretation of the character? The ordinary beginnings, yet his ambition, self-image? His relationship with Gee Money? Fraternal, eventual rivalry? His surrounding himself with his friends, family, his relying on the Duh Duh Duh Man? The women? The developing of a family? His ambitions about crack, the demonstration of crack and its availability, its manufacture and his control of that? The distribution? Streamlining, delivery at the factory? His violence, the family eliminating rivals, the brutal murders? The confrontation with the Italian Mafia, his humiliating them and treating them violently? The police? The infiltration by Pookie, Gee Money trusting him, as an addict, the information given, the camera? His being exposed, the violence and his death? The confrontation by the police, Nino Brown not being filmed, escaping? Scotty Appleton and his friendship with Gee Money, his infiltrating himself, the deals? The build-up to taking Nino Brown down? His continued arrogance, the New Year celebration, his taking Gee Money’s girl? His having no regard or respect for her? The phone calls when he was with the girl, his trying to take control? The wedding sequence (echoes of The Godfather)? The Italian Mafia and their attack? The violence, the little girl, Brown escaping? The woman clashing with him, his rejecting of her, her being willing to turn State’s Evidence? The drive-by shootings of the Italian Mafia in the streets and cafes? The build-up to the final confrontation, the recognition of Scotty as police? The shoot-out, his henchman dying? His being on the run, the final confrontation with Gee Money, Gee Money’s appeal to him, his shooting him? His being taken, the fight with Scotty, Nick saving his life? Brown’s arrogance, his appearance in court, dapper, the testimony against him, his speech, pleading guilty, the possibility of him being out on the street within a year? The significance of the scene with the children as distributors of crack, the old man coming, drawing his gun, confronting Brown? The irony of the old man coming to the court and shooting him dead? The fall of a gangster?

4.Scotty Appleton, his role as under cover, the initial confrontation and chase, Pookie on the bike, the bag of money, his being police, the crowd gathering around to take the money? The commissioner and the authorities wanting something done about crack? The appointment of Stone? Stone asking Appleton to partner with Nick, their mutual antagonism, Nick talking about the black thing? Their work, Pookie going in under cover, trying to get evidence? Pookie’s death and the raid? Appleton going in under cover, gaining the confidence of Brown? Kareem as suspicious? The final recognition, Appleton having infiltrated as far as being a partner with Brown? The wedding, Brown’s using the child as a shield? Appleton’s anger? The final confrontation in the warehouse, the chase, the shooting, Nick saving his life? His pointing the gun, his having to be restrained? Impatient in the courtroom? The verdict? Witnessing the old man shooting Brown?

5.Brown and his partners, the character of Gee Money, subservient, the relationship with the girl, the deals, loyalty? His own addiction? The raids, his being rebuked for trusting Pookie? His final plea to Brown, that they were each the brother’s keeper, Brown shooting him?

6.Pookie, the initial chase, the addict, his being persuaded to be an informer? His going into the factory, the belt with the camera, the evidence, the police watching? His taking the drugs, behaving erratically, exposed, his death?

7.The Duh Duh Duh Man, the yes-man to Brown, the loyalty, cruel, his own death? The other members of the gang, the women, their ruthlessness as well? The glamorous girl and her linking up with Brown?

8.Stone, in command, bringing Appleton and Nick together, the difficulties? The cover blown? Allowing Appleton to infiltrate? The final confrontation, the court case, success? The background of prosecutors, officials?

9.Nick, the only white man, his own addiction, tough, the gun, the clashes with Appleton, the bonding? Each saving each other’s life in the shoot-out?

10.The background of New York City, life in the city, the addicts and their going to centres, the crack houses? The wealthy and the drugs? The possibilities of life and decorum as seen in the wedding sequence – and its being destroyed by the Italian Mafia and their shooting?

11.The film as a message film, for African American audiences, especially in New York City? Wider audiences? Anti-drug films?

MEN OF HONOR

US, 2000, 129 minutes, Colour.
Cuba Gooding Jnr, Robert De Niro, Aunjanue Ellis, Charlize Theron, Hal Holbrook, Michael Rapaport, Powers Boothe, David Keith, David Conrad, Lonette Mc Kee.
Directed by George Tilman Jnr.

Based on a true story. While the central character, Carl Blashear, is real, the character of Master Diver, Billy Sunday, is a fictionalised version of all those gunner sergeants who have made life miserable for would be soldiers and marines - from Louis Gosset Jr in his Oscar-winning role bullying Richard Gere into 'being a man, an officer and a gentleman' to R. Lee Ermey, that most frightening of foul-mouthed sergeants who made the first part of Kubrick's Full Metal Jacket so frighteningly real. This time it is Robert de Niro as Billy Sunday who acts as if he as been poring over scenes from An Officer and a Gentleman and Full Metal Jacket. He relishes the role. But Sunday is from a share-cropper family from the South and he is prejudiced against the black Blashear and envious of him.

But, the film is Blashear's story. Going into the navy in the late 1940s he is assigned to cooking. But he wants to dive and, after the war and Truman's desegregation of the Armed Forces, he perseveres in requesting entry to training. He works hard, he studies, he finishes examination tasks even though sabotaged by Sunday and the fort commander, Hal Holbrook. Eventually he achieves his ambitions and is the diver who found the H bomb which dropped into the Atlantic in 1966. However, he breaks his leg in an accident while recovering the bomb. Relentlessly, he trains and, with Sunday's help, resumes his duties.

In many ways the film is conventional American heroics. But the story is gripping and Cuba Gooding Jr puts himself completely into the role of Carl that it becomes an inspiring saga of a man overcoming prejudice as well as a man with burning ambition achieving it.

1.The film based on an actual character? His history? Navy history? Race relationship history? Prejudice history? The impact of this film in the year 2000?

2.The 1940s settings on the southern farms? The late 40s and the ships, the navy? The early 50s and the forts and training? The towns around the forts? The bars? Libraries? The 1960s, exploration in the Mediterranean? The court sequences? Authentic atmosphere? Musical score?

3.The title, the speech by Carl and the criterion of honour for reinstating him?

4.The focus on race relationships, the status of African Americans in the 1940s, the extreme prejudice amongst the diver trainees in the navy, by the officers? Harry Truman and the desegregation of the armed forces in 1948? The slow trickling down into real life? The changes in the 50s and 60s? Carl Brashier as the first African American master diver in the navy?

5.The opening, the young Carl, his father working in the fields, their poverty, his mother? The father urging him not to be the same as him? The decision to go into the navy, the farewells? His father’s final talk with him, urging him to be the best? Carl having his photo of his father always with him? The influence of his father, expectations?

6.The early experience in the navy, the cook, the nickname? Their joking about his ambitions? The white sailors swimming, his going for a swim, outdistancing the pursuing officer? Captain Pullman and his watching, Master Chief Sunday watching? Pullman and the interview in the brig, Carl and his requesting his support for application to go to diving school? Pullman giving it? It taking two years for him to be accepted?

7.His arrival at the training school? Prejudice? Sunday and his meeting him, not picking him up in the car? Sunday’s hostility to his presence? Carl arriving, the only person helping him, Snowhill? Going into the hut? The other divers, their prejudice, the antagonistic notes? Sunday wanting them to welcome Carl, everybody walking out except Snowhill? Sunday and his making things difficult for Carl during the training, Carl’s expertise, his standing up for Snowhill when Snowhill was pushed into the water, rescuing him? Carl and his rescuing the tangled diver? The white trainee getting the medal, Carl ignored? His perseverance, the failure in the test, his going to the library, his meeting Jo, their discussions, her helping him, his falling in love with her? The confrontation in the bar, his meeting Gwen Sunday, going in with her? The challenge by Sunday? The diving test, the water in the helmets, Carl winning? Jo and her training to be a doctor, wary, loving Carl? The commander, Mr Pappy and his decree that Carl should not pass, his supervising the final test, Sunday and the others succeeding, their slashing Carl’s bag of tools, his staying over nine hours in the water to complete the task? Sunday accepting this – and Pappy moving him out and removing his rank?

8.Carl and his final graduation? The years passing? The prologue with Sunday watching the television, his own disgraced life, drinking? The prejudicial remark against Carl and his attacking the sailor? His support of Carl?

9.Carl’s family life, Jo, his son? His being absent? Their watching the television about the H-bombs lost in the Mediterranean? Carl and his success, going down, the oncoming Russian submarine, his evading it, surviving, finding the bomb? The loose rope, his warning the others, the hurt to his leg? The commanding officer and his support of Carl?

10.Carl in hospital, his wife coming to see him, his suffering? His determination, the information about artificial limbs and continuing in the career? His setting his face firmly against his wife? The arrival of Sunday? His standing by him? The antagonism towards Captain Hanks? Hanks’s prejudice, wanting Carl out of the navy? Sunday and his pulling strings, his own past experience in saving people’s lives, holding his breath for five minutes in the water?

11.The hearing, Carl allowed a month? The rigorous training, the artificial limb? Running, walking? The build-up to the hearing? Hanks and his prejudice, having written the manual? The other officers and their sympathy, friendship with Sunday? The challenge to Carl to walk twelve steps in the new gear? Heavy, putting it on, standing by himself, Sunday urging him on? His success? The reconciliation with his wife and son?

12.Carl Brashier as a person, determined, successful? Role model? The information about his becoming a master diver? Spending more years in the navy before retirement?

13.The fictitious character of Sunday, Robert De Niro and his intensity? The prejudice, jealousy because of his own farmer’s share-cropping? His being hard on Carl, on Snowhill? His being dominated by Pappy? His allowing Carl to succeed? Losing his rank, drinking? The fights in the bars? His relationship with his wife, her being young, glamorous? His taunts of her, yet their love for each other? The drunken confrontation with Hanks? Her coming to the hearing and supporting Carl?

14.Hanks, the up-and-coming bureaucrat, pen-pusher? Writing the manuals, his own prejudice, his antagonism towards Sunday because of his diving and being under pressure, the embolism and his not being able to dive again? Their final confrontation at the hearing?

15.The background of navy personnel, Pappy and his prejudice, Snowhill as a champion swimmer, earnest, with his wife and family, suffering under Sunday, being allowed back? Pullman and his prejudice but allowing Carl to go on? Captain Hartigan in the Mediterranean and his support?

16.The background of black characters, Carl’s family at home, in the navy, the cooks? Their support of him and his swimming?

17.The overall impact of the film? The diving sequences? The mirroring of American history? Race relationships?

SEVERANCE

UK, 2006, 96 minutes, Colour.
Danny Dyer, Laura Harris, Tim Mc Inerney, Toby Stephens, Claudie Blakley, Andy Nyman, Babou Ceesay.
Directed by Christopher Smith.

Yet another version of the hunter and the hunted and a gradually diminishing cast. The 2005 film Wilderness had something of the same plot but this one is better written, acted and crafted.

There is also a satiric point behind the killings. A group of seven travel from the UK to Hungary to a chalet to work on team-building activities. Eastern Europe is still seen as menacing (after all, they might also be on the border of Transylvania), gloomy mountain terrain and forests – and some very strange characters (which remind horror fans of the ugliness of Hostel which was set in Slovakia). The point is that the seven work for an arms manufacturing company – and they are being pursued by maniacal soldiers with weapons the firm has produced!

Severance (chopped heads as well as the group receiving the worst kind of work severance package) spends some time and interesting dialogue in setting up the characters before sending them into the woods and dispatching them (sometimes with some gory brutality).

On the whole, the film works well within its genre, macabre touches, sardonic humour, though the cursorily accidental blowing up of a passenger plane over Hungary is in dubious taste – and the arbitrary selection of who should survive and the final over-flip jokes undermines the intensity. With Danny Dyer who specialises in larrikin roles (Football Factory, The Business) and prestigious actors like Tim McI nerny and Toby Stephens, Severance has much going for it. It was written and directed by Christopher Smith whose previous film was horror in the tunnels of the London Underground, Creep.

1.The impact of this kind of horror film? The familiar story of the hunters and the hunted? The gradual elimination of the group? How well treated? Originality? Using the conventions?

2.The locations both in Hungary and on the Isle of Man? Credible scenery and locations for eastern Europe? Hungary, the forests, the roads? The musical score, its atmosphere, reverberations?

3.The title, heads being cut? Members of a company being severed from their jobs?

4.The focus on the company, Palisades and their arms deals? The irony of the background of an arms company? Sales to various customers? The group working for Palisade? Associated therefore by guilt? Jill and her reaction against the inhuman weapons?

5.The background stories and imagination: Harris and his story about the lunatics taking over the asylum, using the silent movie technique? Steve and his imagination of the sex therapy? Jill and her story about the military, the excessive killers, their being banded together and imprisoned? The reality of the armed hunters, their brutality, their Palisade weapons? The big depot and the firm buildings for Palisade? The film’s critique of the weapons industry? The good or bad taste of George firing the rocket – and its hitting a passenger plane?

6.The characters as a group, the company, on the bus, how well did the film establish each of the characters, given plenty of time before the killings? Their work as a group?

7.The bus driver, the blocking of the road, the refusal to go on the side road, Richard and his ineffectual demands? Being goaded by Harris and the others? Their decision to leave the bus, walking, the sounds, the bear? Their arriving at the house, thinking it was a dump, presuming it was the right place? Their going in, the squalor inside, the files giving the information about the soldiers? The pie – and the later discovery of the tooth? The beginnings of fear, the telling of the different stories?

8.Jill, getting up in the night, the spider – and her friendliness with it? Her screams because of the masked man at the window, the search outside? The upset, Richard trying to be in control, Gordon and his trying to be the yes-man? Decisions about leaving? The morning, Richard and his allegedly making decisions? Harris and Jill going to test the phones? The rest of the group and their involvement in the paintball fight, the shooting, Gordon and the rules?

9.Gordon and his leg being caught in the trap, their trying to extricate it, his pulling it out? Going to the bus, putting his leg in the freezer? Leaving it when the bus turned over? Harris and Jill finding the bus, driving it back, everybody getting on? The soldiers putting spikes on the road, the overturning of the bus?

10.The beginning of the deaths? Harris and his story about Marie Antoinette, the guillotine, her head still registering that she had been executed minutes after her death? His surliness, his clashes with Richard? His decapitation – and his head verifying his theory?

11.Jill, against the weapons? Her fears? Her being strong-minded? Captured, tied up, the matches not lighting – and the soldier using the flamethrower?

12.The return to the house, the noise in the basement, Gordon and his being dragged away after having the Ecstasy tablet, declaring his love for Maggie? The brutality of his death?

13.Billy, the discussions with Steve about his attraction towards Maggie? Steve and his offhand remarks? Billy and his serious-mindedness? His being shot, his wanting to comfort Maggie and not endanger her? The mainly sympathetic character?

14.Richard, pompous, cowardly? His fears, handling the situation with Gordon? His running out of the house, standing on the mine? The soldiers taunting him? His fears, his helping Maggie and Steve, his decision to blow himself up with some of the soldiers?

15.Maggie, American, strong-minded? Her relationship with Steve, Billy’s attentions? Her not eating? The dream – and Richard accosting her, and it being Harris in the dream? In reality, strong, her supporting Steve, downstairs, the confrontation with the soldiers, the shooting? Steve saving her? The escape from the house, the encounter with Richard? Finding the mansion, George and the escort girls? Escaping, her being strung up, being rescued by Steve? Her going along the track, finding the munitions, trying to ring for help? The final confrontation and her being saved by the girls and Steve?

16.Steve, drugs, his offhand manner – and his later apology to Maggie and his explanation saying the wrong things? His place in the group, the paintball war? Giving advice to Billy? His handling of Gordon’s situation, giving him the Ecstasy pill? The fright in the house, hiding in the cupboard, rescuing and saving Maggie? Their escape, the encounter with Richard, going through the woods, the fights, his using his knives? Maggie and her escape, after being brutalised by the soldier? His catching up with her after rescuing the girls from the pit?

17.The girls, Steve booking them up on the internet? Seeing them in the prologue, in the pit, George and his being killed?

18.George, the boss, with the girls, shooting the rocket, the plane exploding? His escape – and the audience having seen him disembowelled at the beginning?

19.The end – the arbitrary nature of who survived? The particularly flip jokes at the end – appropriate for this film?